Venice Boss Alberto Barbera on Comforting Lady Gaga, A Tearful Tom Cruise and the “Crazy Strokes of Luck” That Landed Him the Lido Gig

Every sentence out of Barbera’s mouth seems to contain a film quote. But he came to cinema almost by accident. Unhappy with his job as a substitute teacher in middle school, he jumped at the chance when a friend from the Turin newspaper thecalled, asking if he’d be interested to write for them about movies. One opportunity followed another, until he finally landed at his dream job as head of Venice Biennale.

Let’s start back in the mid-1950s, in the small municipal cinema in Occhieppo Inferiore, the town of three thousand inhabitants in the province of Biella, Piedmont, where you grew up. You are four years old and your parents leave you in the cinema for the afternoon. It was your first time at the movies. Do you remember the film?

No. I know that I got very frightened by a tense scene. The fascination of fear was so strong that I asked to come back. And to come back again. The first film I remember is Chaplin’s. I must have been six years old. Then lots of Laurel and Hardy, Charlie Chaplin, shorts galore. Finally, an amazing thing happened. I saw a war movie with an ending that haunted me for years but I could never tell what movie it was.

This is what just happened with the Centro Sperimentale in Rome – eliminating the Foundation and bringing the institution back under the appointment and control of the ministries. It’s a return to the past, to a very ugly time. Cultural and educational institutions must be taken away from politics. In the interest of everyone.It’s very healthy. Removed from ministerial pressure, it has grown enormously. It has been led by people of great stature with an

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